Cultural Touchstones
Source: QA
Cyre was the heart of Galifar. Thronehold was the literal capital, but all the
arms and various attendants of government spilled out from the island into
Cyre. The nation was a center for trade, but beyond this it was the nexus of
art and culture within Galifar. Breland had a strong industrial capacity, but
Cyre produced the finest things in the kingdom. Poets,
playwrights, artisans of all sorts: if you were at the top of your field, then
Metrol is where you belonged. Add to this the fact that Cyre was the ancestral
home of House Cannith and seat of most of its Forgeholds. Essentially,
the other four nations had a strong single focus; Cyre is where the best of
all of those things came together, or at least that’s what a Cyran would tell
you. If I had to put a class to it, Cyre would be the bard. Of all the
nations, it was the most charismatic, and its people valued diplomacy,
commerce, and art over brute strength, devout faith, or pure knowledge.
With that said, no accounting of Cyran character would be complete without
considering the impact of the Last War. The war lasted nearly a hundred years,
and any human Player Character from Cyre will know no other life. Here’s a few
things to consider:
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They were in the right. Mishann ir’Wynarn was Jarot’s
rightful heir. Mishann should have been Queen of Galifar; the Last War began
because others challenged her rightful succession. The Cyrans know with
absolute certainty that they are the only nation whose
actions were beyond reproach, that it was the greed and betrayal of the
other nations that destroyed Galifar. The loss of their nation simply
reinforces this: it is the ultimate injustice, as they alone were truly in
the right. As a side note, Mishann was assassinated by the Order of the
Emerald Claw. While this was relatively early in the war, it’s still a
potential foundation for prejudice against Karrns in general and the Blood
of Vol specifically.
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Surrounded by enemies. Karrnath, Thrane, Breland, and
towards the end of the war Darguun and Valenar. Every other nation had
one or more relatively secure borders, areas of the nation that were less
affected by the ongoing conflict. There was no safe haven in Cyre, and they
were always girding for the next attack.This fostered a strong community
spirit – it’s us against the world – and led to…
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Resourcefulness. Cyre didn’t have the military power
of Karrnath or the mystical might of Aundair. It lacked Breland’s spy
network or the divine force of Thrane. Cyre had to somehow hold off all
of these foes. This led Cyre to employ more warforged and mercenary forces
than any other nation (something that didn’t work out so well in Valenar and
Darguun), but it also forced the Cyran people to become extremely
adaptable and resourceful – stretching resources, adapting tactics to deal
with their many and varied foes, and always being prepared for an attack
from a new quarter. This trait has served Cyrans well as refugees, as
they must continue to make the most of limited resources and constant
adversity.
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Artistry. The luxurious lifestyle of old Cyre was
quickly lost as all resources were devoted to the war, but the people
always treasured the fine things they still had: music, dance,
literature. The most heartwrenching and uplifting works of art of this time
still come from Cyre, and most Cyrans hone some sort of artistic
talent, be it dabbling in an instrument, telling stories, or simply drawing
in the dirt. This continues to be a source of pride for Cyrans in their
exile; whatever they have lost, they know they have the talents to create
new treasures. In this, there is some common ground with Aundairians,
who place great value on wit and knowledge. However, the Aundiarians are
more naturally scholars while Cyrans are artists. The finest histories of
the war were produced in Aundair; the most heartwrenching songs came out of
Cyre. Likewise, throughout the war, Aundair was able to maintain its ivory
towers. Cyran artists lived and worked with mud, sweat, and tears.
Cyrans are proud. They may not have been the best warriors, wizards, or
priests. But they were in the right from the very beginning of the war. They
stood back to back against the enemies that surrounded them. Even when the war
took everything from them, they have held on to the culture that defined them.
Once Cyran tailors worked with the finest silks, and now they work with rags;
but they still find ways to make things that are unique and beautiful.
Source: Five Nations
People
The Cyrans once held the world in their hands. Cyre was on the artistic and
cultural cutting edge of Galifar, with new trends constantly starting and
spreading out of the nation. Cyrans knew how to enjoy life and the fruits of
their labors. Art, music, fashion—there was no constant in Cyre, other than
constant experimentation and change. The Cyrans valued an outlook on life that
became known as the Cyran appreciation. This described a philosophy and
lifestyle that appreciated beauty and magic, and promoted avant-garde and
unconventional behavior in art and life in general. This was seen by the
majority of Galifar as remarkable and wondrous until the time of the Last War.
Then, propaganda and vicious rumors turned a virtue into an excess. As the war
raged around them, Cyran nobles allowed their indulgent lifestyles to take
darker turns, and words such as decadent, vile, and immoral began to be used
to describe the Cyrans. The Cyran refugees struggle to maintain the Cyran
appreciation, even though this continues to cause misunderstandings among the
people of the nations where the refugees now live.
Appearance and Dress
Whether fighting, dancing, or standing perfectly still, Cyrans possess a poise
and elegance that is the envy of all the other nations. Cyrans tend to be
slender and long-limbed, with a casual, willowy grace that shines from within.
Their hair is often wavy and of medium length, allowed to hang free so as to
shift naturally with their movements. Nearly all Cyrans have dark hair, but a
few are born with stark white locks—tradition states that such youths are to
be encouraged to take up spellcasting, and most do show an aptitude for it.
Cyran clothing is highly diverse in cut and style, but most garments have
long, fl owing elements—the people like clothing that will catch even a small
breeze and ripple with the air currents. Short cloaks are common, as are wide
sleeves. The most noticeable element of traditional Cyran dress is gloves.
Cyrans favor short, sturdy gloves for work and fighting, and longer,
beautifully tooled and decorated gloves for formal wear. Their hands are
rarely exposed, and an ungloved handshake is a sign of special trust. Formal
occasions are not identified by a change in clothing, but by a sharp increase
in jewelry, and often the addition of masks. Festivals and balls always
incorporate an element of costuming.
Cyrans simply adore jewelry, and they collect all manner of pieces as their
fortunes allow. Loose hanging necklaces, earrings, and bracelets, particularly
those that include small bells or brightly colored feathers, are preferred.
The most spectacular of these adornments are their headdresses—elaborate
pieces that run from the brow, over the head and shoulders and well down the
wearer’s back.
Magic and Religion
Many Cyrans were occasional worshipers of the Sovereign Host, though one could
not call Cyre as a nation religious. Cyran magic runs the gamut from flashy to
practical. As the center of Galifar culture, Cyre made great use of all the
dragonmarked houses and countless bards and lesser wizards to build an almost
fairytale kingdom of light and grace. This image has become even more
exaggerated in the minds of the survivors and those of other nations who never
saw Cyre in its prime, cherishing the memory over the stark reality of the
Mournland.
Source: Exploring Eberron
Cyran Style
For a millennium since its founding, Cyran culture blended the traditions of
other nations. However, the Last War built walls between Cyre and the other
nations, and each evolved in this century of relative isolation. Cyrans know
the old add-a-verse songs beloved by Aundairians, but few know the Epic of
Valiant and Vigilant, a tale of martial bravery close to the heart of every
modern Aundairian. Nor do they know the maxims of Beggar Dane that now serve
as a cornerstone of Brelish culture.
Even so, Cyrans see their culture as being founded on the best principles of
Galifar, and can still find some common ground with people of any nation. A
Cyran can play Conqueror with a Karrn, sing an add-a-verse song with an
Aundairian, and debate religion with a Thrane. This reflects the founding
principles of Cyre—to gather the best aspects of Galifar and to build upon
them. Cyrans believe there's no single perfect path; diversity is a source of
strength, but there’s always room for improvement. Cyran culture is thus a
strange chimera—a blend of familiar elements from across Khorvaire combined
with a steady, ongoing evolution. A Cyran musician might play Karrnathi
funeral dirges in the style of a Thrane devotional; it’s a puzzle where the
pieces are known, but they’re constantly being arranged in new ways. Some
citizens of the other nations believe this is appropriation—that the Cyrans
are carrion crawlers who steal from others while arrogantly believing they can
do better. But the Cyrans themselves assert that this approach is rooted in
love, not arrogance, and call it the “Cyran appreciation."
In playing a Cyran, you can find familiar things anywhere you go. But what do
you treasure in your memories of Cyre? Do you cling to the past, or do you
embrace the Cyran principle of always striving to find a new and better way?
Fashion
Cyran fashion blends practicality with endless diversity. Cyran clothing
begins with a simple foundation—this base layer may be colorful, but it’s
first and foremost practical and durable. Whether breeches, skirts, shirts, or
gowns, a Cyran starts with whatever the wearer finds most comfortable. Again,
this base level is well made, but it’s more functional than decorative.
After starting with simplicity, the Cyran adds flair. Cloaks and gloves are
both integral parts of Cyran fashion. Gloves can be short and sturdy for work
or war, or long and decorative for more formal occasions. Cloaks likewise vary
between the practical and decorative: a heavy cloak for traveling, a short
cape for casual socializing, and a long, light cloak with a glamerweave lining
for an evening at the Grand Stage. In addition to clothing like gloves, boots,
and cloaks, jewelry and other accessories are important parts of Cyran
fashion. Often made from copper, leather, wood, or glass, Cyran jewelry is not
a display of wealth, but rather a way to express individuality. Feathers and
bells are also common accessories; there is a Cyran dance that involves belled
bracelets and anklets. Finally, masks are often worn at formal or festive
occasions. Cyran masks aren’t intended to conceal identity or intent; rather,
they are a way of enhancing identity and expressing a mood.
Traditionally, Cyran fashion is filled with color (often accentuated with
glamerweave). In the wake of the Last War, many Cyrans have adopted
Mourningwear—clothing cut in the Cyran style, but entirely in black. Others
celebrate their nation by preserving its styles. Because of the emphasis on
durability, your Cyran character may still have the clothes they were wearing
on the Day of Mourning. What was that outfit, and do you still wear it? Do you
favor a mask, and if so, what is its design?
Cuisine
Cyran cuisine reflects the Cyran principles of working with the best of all
traditions while continuing to explore. In many ways, this is similar to the
Sharn fusion found in the City of Towers, and a number of Cyran refugees are
rising stars in Sharn’s culinary scene. Cyrans blend the thrakel spices of
Thrane with traditional Karrn stews, and add the heat of southern Breland to
the delicate pastries of Aundair. While many refugees cling to family recipes
as a way to remember the fallen nation, others continue the tradition of Cyran
appreciation—adopting new favorites from the place they’ve found shelter and
looking for ways to improve them
Magic
Traditionally, Cyrans viewed arcane magic as an art form as well as a
practical tool. This lent itself to a wider study of illusion and enchantment
than found in other nations. But it’s also about the presentation of magic,
regardless of its school. Whether magewright, bard, or wizard, Cyrans often
put more show into the performance of magic than even the Aundairians. For a
wizard who’s studied at the Wynarn Institute, somatic components are almost a
dance, while verbal components have the cadence of song or poetry. This echoes
the Cyran love of flowing capes and cloaks. As a Cyran spellcaster, you are
truly a student of arcane arts; consider how your casting reflects this.
Religion
The Silver Flame had some devoted followers and temples in central Cyre,
though the Sovereign Host was the dominant faith. However, religion is driven
by faith and tradition, and Cyrans have always been encouraged to question and
search for new paths. Outer Cyre is a different story. The nobles of Eastern
Cyre were and are devout Vassals, convinced they have a divine right to
leadership. The people of Southern Cyre are less arrogant, but most hold to a
quiet, steadfast faith in the Sovereigns.
The war drove some Cyrans to embrace their faith more tightly, but for others
it was another source of doubt. Likewise, the Mourning threw many devout
Cyrans into a crisis of faith, while for others, it actually strengthened it.
A devout follower of the Silver Flame doesn’t question the cause of the
Mourning, they simply seek to protect the innocent from harm. Vassals of the
Sovereign Host trust that there is a purpose to their suffering. Meanwhile, in
the wake of the Mourning, some Cyrans have turned to the Blood of Vol or cults
of the Dragon Below, cursing the gods they once worshiped or following a
darker vision. There are also a number of new strains of the old faiths, Cyran
twists on the Flame and the Host that seek to adapt traditions to make sense
of the war and the world.
In playing a Cyran, whether a divine caster or other religious character,
consider the impact the Mourning had on your faith. Are you conflicted and
struggling to hold to your beliefs? Or was the Mourning a source of
inspiration—you know you have a divine purpose, that your people need you? If
you’re tied to an existing faith, do you follow the standard traditions or
have you found an unusual path?
Source: Politics of Cyre
Beautiful beyond compare, Cyre was the heart of the empire of Galifar. The shattering of Galifar harmed Cyre most of all, as the people could no longer rely on the material benefits that empire brought.
Culture
The area currently covered by the dead-gray mists spans over seven hundred
miles from north to south. When you include modern Darguun and Valenar, Cyre
covered an enormous amount of territory. Between its status as the crown jewel
of the nation and the lack of instantaneous communication, Cyre’s culture
included many regional variants that shifted and adapted at different rates.
Still, some generalizations can be made. Central Cyre, especially the area
around the capital of Metrol, rapidly adopted and transformed culture from the
surrounding nations. More outlying areas, away from the high court of Galifar,
fostered more unique and independent traditions.
Below are some ideas for Cyran art and architecture—for other topics, such as
fashion and cuisine, check out Exploring Eberron by Keith Baker.
Art
As the heart of Galifar, the bounty of empire provided central Cyre with both
the leisure and wealth to support ever-evolving artistic pursuits. Before the
Last War, the art enjoyed by the nobles of Metrol made statements that were
broad, sweeping, and optimistic about the future. Filigree designs pushed the
limits of material engineering, while a mix of precious gems and dragonshards
added glimmering light to spectacular creations.
The arrival of the war had an immediate economic impact. The mithral needed
for filigree as well as many gemstones were in short supply, as they had been
imported from eastern Karrnath (now the Mror Holds). Dragonshards were the
first resource to be drafted to the war effort and were no longer available
for artistic purposes. With limited resources, the Cyran art scene was forced
to evolve in both material and tone. During the early part of the war, some
artists persevered in hoping that the war would quickly resolve and Queen
Mishann would reunite Galifar. The Cyran literature scene especially liked to
ponder on the magical, scientific, and technological advances in a utopian
post-war Galifar.
By the time of Mishann’s assassination in 908 YK, almost all artists had given
up on the hope of a quick and easy victory. State-sponsored music urged
citizens to band together through shortages as material was diverted to the
war effort. Meanwhile, the nobles of the nation continued to commission pieces
reminding them of the glory days, distracting them from the ever-worsening
war. The arrival of the Valenar mercenaries in 906 YK created a surge of
interest in their foreign lands, but by their betrayal 50 years later much of
that interest had faded away.
The midpoint of the war, with the secessions of Darguun and Valenar, sparked a
new kind of anger amongst the Cyran people. Once again, the Cyran people were
isolated by secession. Brooding melodies with heavy drum and strings dominated
the Cyran soundscape, while the visual arts took racist and demeaning slants
in their depiction of their now ex-mercenaries.
By the end of the war the Cyran people had begun to fall into a deep
depression. Decades of failed war effort painted a dire picture, that Galifar
would never truly be reunited despite Queen Dannel’s assurances. The aging
queen was often lampooned as too prideful to ever forsake her throne and
birthright, even as the Cyran ministries attempted to restrict the
reproduction of critical art.
Architecture
Cyre’s architecture shows the variety of thousands of years of evolution.
Ruins older than human civilization are commonly believed to have belonged to
the Dhakaani, although some less-respected historians attribute them to some
lost culture of humans.
The pre-Galifar human nation of Metrol lacked the continent’s worth of
resources that Galifar had access to, but still prospered with the resources
it did have—like ample forests. Furthermore, the Mark of Making’s appearance
allowed wondrous new creations and constructions, creating a divide between
the magical haves and have-nots. Unfortunately, the passage of time and the
brutality of Galifar’s conquest have left few reminders of this era besides
forgotten cemeteries and the deep recesses of Metrol’s vermishards.
Unity with Galifar brought new prosperity and new construction to Cyre, often
reflecting the idiosyncrasies of the kingdom’s rulers. Many of the nation’s
wonders were built in a dramatic, sweeping style that were intended to evoke
prosperity and longevity; critics suggest these works were self-aggrandizing
and reflected the Cyran tendency to focus more on dreams and symbols than the
real world. The popularity of the Sovereign Host in Cyre meant that even
ostensibly secular institutions and buildings would commonly feature religious
iconography referencing relevant deities from the pantheon. One reliable way
to date a piece of artwork or building is how the host are represented;
draconic imagery was popular in the late 8th century, while by the
time of Jarot’s death and the outbreak of the Last War more multiracial,
humanoid depictions were en vogue.
Infrastructure
Cyre was the core of Galifar and benefited heavily from the public works projects Jarot initiated during his reign. While it was not home to the first lightning rail, House Orien thoroughly established smaller lines connecting the towns and villages to the major cities.
Beyond the rail, Cyre – through House Cannith – was often the first to benefit from innovations in logistics, as Cannith’s manufacturing capabilities demanded efficient means of importing raw materials and exporting the finished products.